Win New Releases from EPHEMEROS and AUTHOR & PUNISHER Courtesy Of MetalSucks

Two lucky winners will win new releases from EPHEMEROS and AUTHOR & PUNISHER in this week’s edition of MetalSucks’ Completely Unreadable Band Logo of the Week.

EPHEMEROS: Oregon funeral doom legion EPHEMEROS offer up their soul-searing All Hail Corrosion full-length. Called “the sonic equivalent of oxidizing razors and toppling gravestones,” by Pitchfork, All Hail Corrosion nods its sullen head to the likes of Mournful Congregation, Loss and Asunder whilst delving into deeper, darker, more acerbic death/sludge-bent territories. The end product is a punishing hailstorm of slow, suffocating riffs, scorned vocals and a smoky atmosphere of morose, chest-collapsing, heaviness All Hail Corrosion was tracked and mixed by Fester (Atriarch, Stoneburner) at Haywire Studios, mastered by Brad Boatright (Sleep, From Ashes Rise, Nails) at Audiosiege Engineering and bestows its listeners with forty traumatic minutes of measured depressive harmonies, soul-crushing growls and haunting chants centered around the imminent decay of humanity.

AUTHOR & PUNISHER: Currently wrapping up a North American live excursion supporting Philip H. Anselmo & The Illegals, AUTHOR & PUNISHER is touring in support of the mammoth Women & Children full-length, released to riotous applause last month via Seventh Rule Recordings. Metal Injection calls the record a “powerful and chilling piece of music,” further elaborating that, “Tristan Shone demonstrates the same talent for crafting harsh yet melodic songs that Trent Reznor possesses; the slavering ugliness and sci-fi horror atmosphere recalls Skinny Puppy; the sparse futurism and twitchy mechanical grind is reminiscent of Gridlock; and Shone, with his homemade electronic contraptions, has to at least be considered a spiritual successor to Einstürzende Neubauten.Art isn’t created in a vacuum, and the fact that AUTHOR & PUNISHER has some things in common with other bands doesn’t diminish that fact that Women & Children is a colossal album.”

Tristan Shone inverts the tenets of doom metal completely, relying on cold steel and soulless machinery to sonically replicate the despondency of life. Described most succinctly as “industrial doom,” this one-man project utilizes primarily custom designed and fabricated machines and speakers, devices that draw heavily on aspects of industrial automation and robotics and focus upon the eroticism of interaction with machine. The machines are designed to require significant force from the performer, aligning he/she with the plodding doom-influenced sounds that are created.